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The Theories of Hans Hofmann and Their Influence on His THE THEORIES OF HANS HOFMANN AND THEIR INFLUENCE ON HIS WEST-COAST CANADIAN STUDENTS by ROGER LEE B.A., University of British Columbia, 1964 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Fine Arts We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1966 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that per• mission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publi• cation of this thesis for financial gain shall not be allowed without my written permission. Department of ^IXSL r\ V \<, The University of British Columbia Vancouver 8, Canada Date f\^il *3 j -13 66 TABLE OF CONTENTS CHAPTER PAGE I. HANS HOFMANN, A SHORT BIOGRAPHICAL STUDY . 1 II. THE THEORIES OF HANS HOFMANN 8 III. THE WEST-COAST CANADIAN STUDENTS OF THE HANS HOFMANN SCHOOL OF ART 91 ILLUSTRATIONS 127 BIBLIOGRAPHY 131 ABSTRACT The topic of my thesis is an analysis of Hans Hofmann's theoretical writings on art and their possible influence on his West-Coast Canadian students. I have included a short biography of Hofmann in order that the reader may become aware of the events that led up t o his theoretical development. Through all available published material on and by Hans Hofmann, I have endeavoured to analyze and to explain his theories which are often quoted but seldom understood. Hofmann"s art was inspired by nature. This inspiration enabled him to create on the canvas the perceivable movements of "push and pull" and "expansion and contraction." These movements are caused by form and color on a bare canvas which creates the combined effect of two and three dimensionality. How• ever, the two dimensionality of the picture plane is retained momentarily because visually it appears two dimensional but past experience of the observer creates the effect of three dimensionality. These movements of "push and pull" and "expansion and contraction," which are perpendicular to each other, are created by the simultaneous development of form and color. If these movements are able to re£lect the artist's mind, iii sensibility, temperament and past experience, a symphonic painting, a category of the fine arts, or a work of art will have been created. The spirit which has been captured, emits the artist's life for the physical duration of the painting. Although theseitheories were taught by Hofmann at his schools, he did not expect his students to accept them with• out a second thought. He wanted his students to develop from them as he had developed from others. The effect of HofmannTs teachings on the contemporary theories of individual students was ascertained by means of a series of interviews with Hofmann's West-Coast Canadian students, Lionel Thomas, Takao Tanabe and Donald Jarvis. Lionel Thomas was greatly influenced by Hofmann's role as an educator. Both Hofmann and Thomas stimulated their students and helped to raise the artistic level of their individual environments. Takao Tanabe said he had rejected Hofmann's theories. If Hofmann was influential on Tanabe, the latter has constricted, denunciated or attempted to forget that influence. Jarvis contrasts both Thomas and Tanabe for he neither accepts or rejects Hofmann's teach• ings. Jarvis has, as Hofmann had fifty years earlier in Paris, developed from what he learnt from his teacher. Hofmann's influence has not ended, for Thomas, Tanabe and Jarvis are teachers and they, with art historians influenced by Hofmann, still propagate his theories. LIST OF ILLUSTRATIONS PLATE PAGE I. "Fantasia," 1943, by Hans Hofmann . 127 II. "Effervescence," 1944, by Hans Hofmann, . 127 III. "Magenta and Blue," 1950, by Hans Hofmann . 128 IV. "Le Gilotin," 1953, by Hans Hofmann . 128 V. "Above Deep Waters," 1959, by Hans Hofmann . 129 VI. "Pre-Dawn," I960, by Hans Hofmann .... 129 VII. "Landscape of an Interior Place," 1955, by Takao Tanabe 130 VIII. "Winter Evening," 1958, by Donald Jarvis . 130 ACKNOWLEDGEMENT I would like to express my gratitude to the Members of the Fine Arts Department who aided me in the preparation of this thesis. Special acknowledgement should be accorded •Mr. William S. Hart, whose guidance and new insights into Hans Hofmann, deepened the scope of my thesis. I appreciate the assistance given by Miss Melva Dwyer, Miss Diane Cooper and the members of the Fine Arts Division Library. My research at the University of California at Berkeley was aided by Mrs. Mary Anne Craft, Museum Registrar, who made the collection of Hans Hofmann"s catalogues available for my use. Also at Berkeley, I would like to thank Mr. Larry Denean, who showed me the University's collection of Hans Hofmann paintings, and also gave me new insights into Hofmann, the teacher and the artist. Most of all, I would like to thank Hans Hofmann"s students, Mr. Lionel Thomas, Mr. Takao Tanabe and Mr. Donald Jarvis for the time I spent with them during our interviews. Last but not least, I express my gratitude to Miss Marilyn Meister and Mr. Terry Lopston who read over my thesis and to all my friends who encouraged and helped me with the pursuit of this topic. .CHAPTER I A SHORT BIOGRAPHICAL STUDY This thesis concerns Hans HofmannTs theories and the possible influence of his theories on a selected number of his West-Coast Canadian students. This thesis has been divided into three chapters. The first presents a brief biographical account. The second discusses his theories. The third chapter presents interviews with Lionel Thomas, Takao Tanabe, and Donald Jarvis, Hofmann's West-Coast Canadian Students. The career of Hans Hofmann has spanned at least two generations, two continents and many international borders. His place in the field of modern art has been established as an artist, educator, and exponent of modern art. Having taught for forty-five years, his many students now disseminate throughout the world his enthusiasm for modern art, his teachings and his methods of teaching. Hofmann's untimely death in. February, 1966, ended thirty-five years on the American art scene. Often thought of as being American-born, he was in fact born in Weissenburg, Germany on March 21, 1880. He was the second son of a government official. His youth was spent with his 2 four brothers and sisters in the German countryside which shone with the green grass and irridescent sparkle of streams. The young Hans loved the summers he spent at his grandfather's farm. Hans was very attached to his grand• father who took on the role of father substitute. By the age of sixteen, Hans left home to work as an assistant to the Director of Public Works of the State of Bavaria. There he was able to pursue his interest in mathematics and science by using its library facilities. Through science he was able to survey nature broadly and objectively and to supply himself with the materials for further creative speculation. During these youthful years, science took up most of his time but he was still able to continue his interest in art and music, namely the violin, piano and organ. Hofmann*s creative bent lead him to the invention of an electromagnetic comptometer, a machine similar to the present day calculating machine. As he was still under age, his mother had to sign the patent. His father, much pleased with his son's success, sent the boy a thousand marks, and with this small fortune, Hofmann embarked on his career in art by enrolling at art school. However, his scientific career was not yet ended; his creative curiosity lead him to develop a submarine signal device, an , electric bulb that glowed independently of an electric source, and a portable freezing unit, all of which produced no financial profits. While at art school, Hofmann mastered the lessons from a succession of teachers; Michailow, Apse, Ferenzi and Grimwald. He said that these teachers "had a humanizing rather than a technical or conceptual influence on (him)."''" Later Hofmann re-emphasized their role in his development when he said that "their lessons were to be the foundation- stone of his later teachings as well as his own work." His teachers were unaware of what was happening in Paris, the 3 vital center for the development of modern art. Hofmann, however, became thoroughly acquainted with the development of modern art. Because the lessons and methods of his teachers has not been revealed, the statement that his Munich teachers were influential in his development cannot be taken as fact. It was through an acquaintance, Willie Schwarz, that Hofmann became aware of Paris. Willie talked of the Impressionists stating, "One must observe nature by means of light reflected from objects, rather than be concerned with tangible existence of the objects themselves."^ These ideas 'greatly excited Hofmann who became increasingly involved with art. Willie then introduced him to a Berlin collector who in turn introduced Hofmann to Philip Freudenberg "'"Ben Wolf, "The Art Digest Interviews Hans Hofmann," The Art Digest, vol. 19, no. 13, April 1, 1945, p. 52. 2 Hans Hofmann, Search for the Real and Other Essays, Andover,. Mass. , The Addison Gallery of American Art, 1948, p. 10. ^Ibid., p. 11. 4 Loc. cit. 4 the collector's wealthy uncle and a department store owner. This meeting must have been very encouraging, for Philip be• came Hofmann's patron for the next ten years, a virtually unique situation in view of the fact that most of the great innovators of modern twentieth century art suffered many years of poverty.
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